♪ >> from our studios in new york city, this is charlie rose. charlie: we begin this evening with a focus on the opioid addiction problem. it claims over 100 lives daily. today president trump declared the crisis a public health emergency. in a speech alongside families affected alongside the epidemic, the president called it the worst drug crisis in american history. president trump: my administration is officially declaring the opioid crisis a national public health emergency under federal law. why i am directing all executive agencies to use every appropriate emergency authority to fight the opioid crisis.

this marks a critical step in confronting the extraordinary challenge that we face. charlie: the president's announcement fulfills a longtime pledge to address opioid abuse, but falls short in declaring a national state of emergency. joining me is jenna johnson, a reporter for the washington post. i'm pleased to have her here on this program this evening. tell me about the president and what he is attempting to do. tell me about the president and what he is attempting to do. jenna: he says he wants to help those already addicted and prevent more people from becoming addicted. but declaring this health emergency, he is getting some of the help more quickly. they are trying to set up teleme dicine programs so that people living in isolated towns can get

treatment remotely. they're hoping to expand the number of treatment places, where those on medicaid can go and get treatments. they might make some grant money available through the department of labor for those who are addicted and need a job. and are perhaps having trouble finding work because they have a criminal record. a lot of what is happening with this national public emergency is that they are trying to get help more quickly to people. one thing that is not happening with this is getting more money to the problem. there wasn't an awful lot of money that comes with these initiatives he launched today. the white house is saying they hope congress will step up and dedicate millions more to this fight. experts say it could cost tens of billions of dollars to properly address this. charlie: there are reasons why he did not call it a national

state of emergency. what are they? these are two different things. they said he has a commission on this crisis. they said he can pick either one of these. if he declared a national emergency, which is what he said he would do, that would be just like after a tornado or a hurricane. you have targeted areas that need help very quickly and they need a lot of money very quickly. had he done that, certain states in certain areas would have been able to apply for federal disaster dollars. the white house is saying they did not think that let them do anything that they couldn't do with a public health emergency. disaster dollars. so they did a public health emergency. this is what we did back in 2009. the obama administration did this when there was that influenza virus going around. what this does is it allows the department of health and human

services to relax some of the regulation and to make an effort to get help out there more quickly. the white house says they picked this option because they thought it better addressed the issue. charlie: what difference will it make that the president says homeland security and the postal prevent fentanyl from coming in from china? prevent fentanyl from coming in from china? jenna: this has been a big issue. the white house and others are looking at how these drugs are coming into the country. addicts are getting them from a variety of ways. sometimes these drugs were legally prescribed and then sold on a black market. in other cases, they are coming in illegally into the country in the mail. the white house is hoping to crackdown on that the postal service. this is something already

underway and has been underway for a while. again, looking at every avenue possible, just trying to cut off the supply chains. charlie: originally, tom marino was going to be the drug czar. he has withdrawn his nomination controversies that with the drug enforcement agency. when do we expect the president to nominate another drug czar? jenna: they haven't said yet. remember that we are also without a permanent health secretary because tom price stepped down. those are two very key positions. the white house said they are urgent spots that the president wants to fill, but they did not give us any indication as to when we could expect to see some nominees. charlie: what did the presidentg enforcement agency. when do we expect the president to nominate another drug czar? -- what is the next step for the

administration, for the federal government? jenna: money. this all comes down to money. a lot of advocates that we talked with today said the president can call this whatever kind of emergency he wants to call it. what we really need is more money. more money for treatment. more money to help people. just more money. the white house is pointing to congress for that, saying they're the ones who need to find that. really that is what we're all waiting to see. these initiatives can help make a little bit of progress on top of what already is being done, but again, people are saying they paid billions of dollars to really do the sweeping changes they want. charlie: when you look at the politics of this thing, how does it play? jenna: this is an issue that is impacting the entire country. the really is not a community that has not been affected by

they paid billions of dollars to really do the sweeping changest. pretty much anyone you talk to has someone that they know who has dealt with this, or who perhaps has died of an overdose. this is especially hitting the states where the president won. that were very critical to his big win last year. states on the east coast like pennsylvania, in the midwest like ohio indiana, a lot of these more rural communities that have seen jobs dry up. this is really hurting them. i talked people in small communities who say their local mortuary is having a hard time keeping up with all of the bodies that keep showing up. this is the death rate that small communities cannot keep up with. and it is young people. it is people who are supposed to be the future of this community.

it is really hurting trump country. it is hurting the president's supporters. he is hearing from them and hearing that they want to take care of this problem. to follow through on his campaign promise to make this go away. charlie: jenna, thank you so much. jenna: thank you for having me. charlie: jenna johnson from the washington post. back in a moment. ♪ charlie: we continue our discussion on the opioid crisis with a distinguished panel of experts. from bethesda, maryland, the director of the national institute on drug abuse at the national institute of health. from boston, and addiction medicine physician and clinical persistent professor -- clinical assistant professor. with me is the vice president of the lower east side service center. i'm pleased to have each of them on this program. tell me where we are today. we've spoken to what the president said.

tell me where we are today in terms of the opioid crisis and what is necessary to get our hands around this. >> it is worse than it has ever been. i work for an agency in the city, the lower east side service center, that has been fighting the battle for the last 58 years. there was a time when it was confined areas in new york city like the lower east side and harlem and bad parts of brooklyn, but it has changed. now, it has affected everyone. hite, it ist, the w an wonderful areas like long island, staten island. as much in rural areas

as urban areas. >> as much in rural areas as urban areas. >> absolutely. it used to be confined to pockets of minorities but that has changed.

increase the dosage of opioids to high levels without risk in the life of the patient. unfortunately, neither of those things turned out to be right. the over prescription on one hand led to diversion of the medications. also we started to find patients treated for pain were becoming addicted, and some of them overdosing. we became complacent as a health care system. treated for on the other hand, we have the need of 25 million people in the united states that suffers from chronic pain daily. that is a huge number, and it can be quite devastating. charlie: i read somewhere one in 10 people who get surgery in this country will go on to

become a continued opioid user. dr. volkow: it is interesting. my father was become a continued opioid user.d for a bad viral infection. one of the nurses told me that what she is seeing now that people in genuine pain are being under prescribed. i agree that there are many patients in whom opioid painkillers are actually clinically indicated. my concern now is the pendulum is swinging too far the other way, and not patients who are clinically indicated to get opioid painkillers are not getting it. having said that, i agree with dr. volkow, doctors do not have the training they need tohavingh properly and appropriately prescribe medications. truth be told, i never learned any of this during medical school or residency. i went to really good institutions.

everything i've learned and i'm talking about now has been on the job training. at rikers, over 50% of the men and women have substance abuse issues. talking about now has been on the job training. previously when i was a doctor for boston's homeless population, among whom the leading cause of death was drug overdose. all these things prompted me to learn more about addiction. doctors, surgeons, they never got any of this training. hence, the mis prescribing that happened is not surprising. charlie: are they changing what is being taught at medical schools because of the realization? >> is a great question. federal organizations and agencies are all really recognizing the strong need to educate medical students and trainees, residents now in addiction and understanding the

brain biology and how substances like alcohol, heroin, and other opioids like percocet bind to parts of the brain that control decision-making, craving. the amygdala, the emotional center, the fight or flight, these substances are hijacking the brain and preventing people from really controlling their behavior. charlie: i don't know how long ago it was when i first met you. what are we learning today? we have learned an enormous amount with respect to have drugs actually hijack. that term is very apropos, hij ack.have learned an they are there from evolution for us to survive as individuals. take them over and trigger adaptations, new pathways that

drug,the search of the the motivation to take the drug at the expense of everything else. we haveack. learned among other things that these changes produced by drugs are very long-lasting. when you stop taking the drugs and say i don't have a problem at all, that is not correct. the changes are still there. that is why when we are discussing addiction of the brain as a disease, we discussed it as a chronic disease of the brain. with the evidence shows is effective is a continued care for addiction, just like you have for hypertension or diabetes. you are not going to be able to cure it, but we can treat it and patients can live normal lives. charlie: you're gone through this and know it firsthand. peter: it is what i bring to the table. i have been silver 27 years. when i was going through my

darkest days, i lost everything. opiates did to me, it was more important than myself. it was more important than my wife, daughter, money -- charlie: because of the pain? peter: i had gotten into it and couldn't come out of it. it is so strong. it is a brain disease, and i'm glad we are putting it on the table. i didn't want to lose everything. i did not want to lose my dignity, my respect, my daughter, who is so precious to me. the draw from drugs is like this -- do you want the drugs or do you want your daughter? do you have a choice? opiates did to me, it was more important than myself. i want my daughter but i need the drugs to be with my daughter. you can't compete with this. it is the most powerful thing out there. i consider myself one of the lucky ones. anyone can get sober. you can put someone on rikers island for a couple months. you will get sober. this is not about getting sober. it is how do we stay sober. had you put a day together and

go to the second day? how do you get out of that quicksand? first of all, treatment works. people need to understand that. i went to nine different treatment centers. from a short-term, a week, to the long-term, 30 days. i went to nine different treatment centers. the lower east side service there fori went in 3.5 years. everyone does not have to go to treatment for three and a half years. money was different then. there were guys and women that lived in treatment for four and five years. it was a different culture, and there was more money available. the point is, if someone had cut this off of the second or third treatment center and given up and said we are not paying for this, i would not be here today. the truth is, every time a person relapses, it is one step closer to them getting sober or dying. i know what i have.

the disease is vicious. charlie: you say i know what i have. peter: i know what i have and i know who i am. i may not want to be a drug addict. at least i know that is what i have. it is a difficult situation. the only thing i have to do is not drink and not drug. i am given this life to do what i am doing now and carry the message. charlie: what happens at the lower east side service center? peter: it is a wonderful organization that has been service for many years. we deal with opioids, hiv/aids, mental illness. we have a longtime treatment center. but we have in the city is an addicted infant and pregnant women's program. after a month or two of being pregnant, they realize they have to do something. they can live with us by the

time they're pregnant, have their baby in bellevue, and live year in a safe a environment where we will teach them how to take care of their infant. it is a unique program. we have been in existence 58 years, but we have had this program 16 or 17 years now. charlie: what do you think of the president talking about nih and taking the first steps for a public-private partnership to develop non-addictive alternatives and treatments? dr. volkow: this is a very important initiative we have been working on since the beginning of the summer. the idea is we are going to solve this crisis by every buddy -- by everybody getting involved in it. that involves the government, but also industry. industry can play an extremely important role. and on two fronts. we started with this crisis because we did not have

sufficiently good medications that didn't have side effects. ergo, we need better pain medications. the science is out there to take them and develop into products, which is what pharma does. how can we get that which is what pharma does. partp between pharmaceuticals and the government, and very importantly, the patients and their families? what do they need to move this forward? the other area which has in asrt and -- which is important, how can we develop new formulations for medications that can help people addicted to opioids be able to cover? imagine what it is to be addicted to heroin and go to a day-to-day basis to a methadone clinic. it is an hour away. you have to make it every day, will i go to the treatment or not? how about a medication you can take every week or month that it can prevent you from overdosing or relapsing?

we have the technology. how can we again create this partnership to advance this type of research? the third important area we have been discussing is how we also create better treatment intervention that are more effective in reversing overdoses. lacing of heroin with very potent synthetic analogs like fentanyl where patients are required three or four doses. can we develop more potent antagonists, longer-lasting, that can protect and revert patients better? and medications where if you are a high risk person, they can give it to you if it physically decreases your risk of overdosing. this is why we have innovation. this is why we have science. science transforms the way we solve problems. in medicine, that is what we are doing for other diseases. charlie: let me turn to dr. roy.

disney your assessment of what , and wherent said you think we need is for the future dr. roy: i believe the president's message is moving in the right direction. we certainly need funding, but let's be very clear. there are people right now struggling and dying of a disease that is preventable. it is not a mystery. we know how to treat people with opioid addiction. there are three fda medications available now. particularly methadone or suboxone. we need to get this treatment. of the 23 million americans with substance abuse disorder, only 10% access treatments. can you imagine if i was told of the 23 million americansonlys got treatment? that means the rest would be dying of heart disease, strokes, and kidney failure. by the way, i would probably lose my medical license. and yet for substance disorder, we seem to be fine with 10% getting treatment. that is unacceptable. we need to get people to treatment they need. but also we need to intervene in

several stages. obviously the late stage where people are overdosing and dying. they need to get naloxone or narcan. but we also need to be able to treat with medications and counseling. but we also need better tools to screen and diagnose. also prevention. i would be remiss if we did not addiction,e roots of which is really pain and suffering. for as long as human beings exist, pain and suffering will exist. if we don't address the pain and suffering, people will continue to self medicate. peter: i like what the doctor said, but let me add this to it. part of the equation that has to be taken into consideration is the stigma and the embarrassment and shame. the reason i come on this show and share such a personal story

is perhaps this gives hope to people out there. there is such a small percentage of people that get the help. when i come on a show like yours, someonethere is such a se of people that is in recovery for a significant amount of times, it reminds the viewing audience that there is hope. whether it is one or nine treatment centers you have gone into, i am sober for three years, or five years, or 27 years, this is hope, and this is what i have to do. hopefully someone is listening, saying maybe i can do something and should pick up the phone. there is treatment. we need more money for it but there are centers available today. it is the stigma and shame. charlie: somebody has to connect the treatment center with the person. peter: i think with the viewing audience needs to hear at least for me is there is a tremendous amount of hope. without hope, we are desperate. at the very end, there were really dark days. somehow i never gave up. with some good fortune i got

sober and have been able to stay sober. i hope someone listens to me and says if he is on there and sober with his terrible bottom, it is the most personal and impactful story i can share with you tonight. dr. roy: i really commend this gentleman. first of all, i congratulate him on his recovery and i cannot emphasize enough how storytelling and stories of success and the work he is doing, like at lower east side service center, we need far more organizations like this to provide care. science and evidence-based data from doctors and stories of recovery from this gentleman from the lower east side service center. that is what we need. ♪

charlie: robert plant's best known of the front man for one of the most successful bands in rock history, led zeppelin. rolling stone ranked him the best lead singer of all time. his solo career has spanned 3.5 decades and 11 albums. his new album is called "carry fire." the new york times called it "a swirling mix of deep blues, heavyweight." here's a look at the single "bluebirds over the mountain." ♪ >> ♪ bluebirds over the mountain

bluebirds over the mountain bring my baby back to me ♪ charlie: did you simply know -- leonard cohen talked about this. he had a great voice, not the perfect voice, but one that people wanted to hear. robert: something was going on. i was infatuated. with the aid of some sonic device, it could be a glass room or something like that, i could hear something else going on outside of the spoken voice and outside of just singing on my bicycle. i heard this other voice coming through i was infatuated by it, i guess. charlie: but then people noticed. the more people notice, the more you figured it out.

robert: it is cause and effect. you begin your plan very naively. for a guy who just sings at the sharp end of everything, there is a lot of instrumentation going out around you. people who are far more musically talented than the front man. the front man gets this great -- i don't know. it is like -- i could pick out all sorts of rhythms these guys are creating. i can fly through, mimic it, i can join in. charlie: they give you with the sound the place to carry this forward. robert: sure, and the inference. a place to carry this forward. following notations from a guitar or whatever was to try to

get in some phrasings, very rude scat. some things -- they give me something to do and some very long solos, as well. i could come in and come out of long sustained notes of sometimes gibberish. charlie: you are celebrating your 50th year with led zeppelin next year? robert: it is true. in 1968, there was a collision of mind and a gift. 37 years ago that ceased. charlie: has it been that long? but 50 years ago it came together in 1968. describe what you just did. a collision of -- robert: sound, mind, intention, energy. when we were really young, a lot of things were boom.

charlie: here, you come and take home a grammy for best rock album. robert: yeah. charlie: still doing it. still doing it. robert: there is a lot of romance about it because it did not blow itself out of the water. it did not go on too long. it just stopped. charlie: you mean led zeppelin. robert: that was the deal when we got together at the beginning. that would be it. we couldn't carry on -- if we cannot carry on as four, that would be it. when you only have four people, it is hard to think about full-time replacement. charlie: do ever listen to this music? robert: sometimes. charlie: how did this come about, "carry fire?" robert: a lot of people said that is a good picture and i said, who visit? charlie: you like it. robert: yes.

a little more stern than i would like. charlie: how did it come about? robert: the same guys i have been working with on and off since 2001, this is our fourth adventure together with a little bit of changing personnel. we went around the world with the previous record. i spent some time living in the united states. when i finally went back to britain, we reconnected to see if i have anything left. this is the second one. this is the first time i made a record with the same people twice since about 1977i think, more or less. this was a great place to be. it is very expressive. charlie: what about carry fire? robert: that is a tough job, but we all do it.

it is marking time and all the cause and effect that you leave around you. and you have to go back. the stuff that is right you have to make it even more relevant and impactful. charlie: who wrote these? robert: my chums and myself. charlie: you sit down at a table like this? robert: not so lavish as this. a tiny little room and lots of ideas. each of these guys has his own studio set up and works around the globe and other projects too. every time we think there is enough material that is interesting enough to put into the cauldron, we convene, we get together and play out. charlie: i heard you say there are not many front men left.

you named three. you, mick, and rod stewart. a front and is what, by definition? robert: a guy who cannot hide. of course there are a lot of other people around. but here in britain. those two guys were around a little before me. also, roger daltrey from the who. i don't know why we have some annual get-together. charlie: i think you should have a celebration. i would like to come to that party. robert: i would like to see you buy the drinks. [laughter] charlie: it is a skill that is beyond voice, too, isn't it? it is a presence because you cannot hide. robert: to a degree. in days a long time ago, it was

a bit more bonus on individual musicality. charlie: you said somewhere, you got to do it. robert: i got to do it in the first place. charlie: do you sing when nobody is listening? robert: yeah. i have various songs that all through time come back to me. i was a huge fan of benny king drifters,s with the my mom was not keen on me singing. she knew better than most. she gave way when it came to benny king's songs. in the zeppelin days, we were signed to atlantic records. for us as british musicians, was

the aunt -- charlie: this was early i assume. robert: yes. off we went. our label stablemates were everybody from bruce brand, the coasters, the drifters, ray charles. obviously, atlantic decided it was more revenue from getting a few of these english bands over. i think a lot of the holy, looked upon decisions looked -- a little bit offbeat. they signed the dusty springfield, which was great. we were really in great company and i got to know benny king very well. charlie: everyone i have ever talked to from the british music

scene, there was a direct line from wherever they were, london, liverpool, wherever they were to the blues in america. robert: magnificent. every morning for me. straight on it. just yet the day going. charlie: do you, really? who is on your playlist? robert: a guy from texas who has a song called "matchbox," which someone borrowed and the beatles took it on later. it is one of the best displays of singing and guitar. it is like the ring of light coming through in a recording from 1929. just fantastic. charlie: you want to be inducted into the rock 'n roll hall of fame as a solo artist? robert: is that a good place to be really? charlie: i don't know. robert: i don't know of the

validity of it. i don't know. there's not enough room for the ribbons on my chest. charlie: that is true. you can put them on your back. robert: yes. start having them under my arms. i went to buckingham palace and i said i cannot go there. but my kids said, how are we going to see inside? you have got to go and get your gong, dad. i did and as i was standing in the line, i look in the public gallery and i see my three kids. i have never seen him looking so smart. charlie: thank you for coming. great to see you. robert: you too. ♪

charlie: sean baker is here. his 2015 film "tangerine," chronicled a day in the life of transgender prostitutes. the film which was shot on an iphone received widespread acclaim. his new film is set in a motel just outside of walt disney world. anthony lane of the new yorker writes that he has taken an unrecorded threat of american life and spawned something raucous and sad. here is a look at the trailer. >> sure do.

$38 a night. >> ok, one drip, you are out. >> come on! it is going to melt outside. >> but bobby. >> thank you very much. >> you are not welcome. ♪ >> these are the ones we're not supposed to go in. >> let's go anyway. can you give us some paints, please? the doctors said we have asthma and we have to eat ice cream right away. >> there you go. >> got a situation here. >> there has already been a dead fish in the pool. >> we are trying to get it back alive. >> water balloons thrown at

tourists. >> five failed as a mother. >> you're a disgrace. >> new job? >> yeah. >> you are not my father. >> i do not want to be your father. >> you cannot treat me like this. >> you don't think everybody knows what is up? everybody. >> she is about to cry. we can always tell when adults are about to cry. >> where is my mommy going? everybody. >> we are just talking. we need to figure something out. >> see, i took you on a safari. >> have a nice day.

>> love you, bobby. >> i love you, too. charlie: i am pleased to have sean baker at the table for the first time. welcome. what do you think is instructive about the lives and capturing the story you tell of people living on the margin? sean: i think i approach each film -- each film is a response to what i am not seeing, i think, in contemporary film and tv at least in u.s. cinema. i think my approach to it is very simple. the more stories that are told about marginalized communities, subcultures, and minorities, the less marginalized they will be. it is very simple. with each film of mine -- charlie: because why? in other words, if you show

stories about their lives, they will be less marginalized because people would understand more about them and something will change about them? sean: i think it is about putting a human face on perhaps communities that we often look at from a distance or are hidden. my coscreenwriter and i have tellpted to universal stories, but that might happen in a subculture that is not necessarily focused on in that way. i think by telling a universal story, showing the common thread that make us all human, i think --t it does is, it expands it allows audiences to say, i can identify with this person even though i thought i never would have been able to because they're outside of my circle.

i think it is just one step towards allowing -- charlie: a condition. tell me about the florida project. have you been interested in the life of the people you portrayed here? sean: i didn't know about their life. i didn't know about the issue of the hidden homeless, quite honestly, until my co-screenwriter brought it to my attention. he brought me articles from local news media focusing on this area in orlando, florida and this juxtaposition of children growing up in motels, living in budget motels right outside of the tourist capital of the world and the place we consider the most magical place on earth for children. i was obviously taken by -- taken aback by these articles and knew there was something in there in which we could find a

fictionalized story, a story line in there focusing on the lives of these individuals. and also the fact of this juxtaposition focusing on the children, because the children obviously is what made that juxtaposition so sad and real. i've always actually wanted to make a film about children. i've been very inspired and influenced by the little rascals. if you think about what they were, they were comic shorts in the great depression, in which most of the characters were living in poverty, but the focus was on kids being kids. the behavioral humor of children. charlie: it was set against the background of the great depression and living in poverty. sean: exactly. i actually thought this would be our opportunity to make almost an updated -- or a present-day

little rascals and focusing on one little girl in particular. a little girl by the name of mooney, a rambunctious little six-year-old. charlie: this is bobby telling her and her friend she is causing too much trouble. >> i got a videotape of the kids illegally entering the utility room. >> i got it. i will talk to her. >> if this happens again, you are out of here. it is only the second week of the summer and there is already a dead fish in the pool. >> we're doing an experiment. we were trying to get it back alive. that was my idea. >> and water balloons thrown at tourists. >> they didn't tip us! >> are you serious? this is unacceptable. i failed as a mother. you disgraced me. >> yeah, mommy.

>> i'm going to talk to ashley, by the way. when your friend puts you in charge of a kid, that kid becomes your responsibility. and you have that one, too. she is from future land. you going to redo my expense reports? you ruined my night. i wanted to watch the ballgame. you're going to pay me for three hours i have to work later? >> pay the man his three hours. >> i don't have any money. charlie: great casting. sean: he is incredible to work with, transformative, he really became this character of bobby. it was an honor to have worked with him. charlie: in doing research, he went to a lot of motels. looking for what? sean: for information. we were from outside of that world and we needed to -- we

wanted to -- will, we approached this -- well, we approached this in a journalistic way. we interviewed people. we would see who was interested in telling their stories are giving us information about route 192, where this was shot. this involved us speaking to residents of the motels, the small business owners, some of the motel managers, and some of the agencies that provided social services to people in need in the area. there was one man in particular, a motel manager, who really opened up his world to us in a way. he was our passport in. he felt this was a story that should be told. he was actually managing one of those budget motels across the street from the magic castle motel, where we shot.

he was in a very tough position when he was actually working there. it has since closed. he had compassion for the families and the kids were there. he understood the struggles they were going through. yet he had a job he had to hold on to. he knew perhaps any night and he might have to evict one of these families and put them out on the street if they cannot come up with the nightly rate. it was a tough position for him. i could see this obvious -- this compassion, but i also saw a distance that he would keep from them. it was a reluctant, parental figure in many ways. i saw it not only with him but a few of the other motel managers. i think that inspired our bobby character. charlie: were the locals wary of you being there? sean: yes, of course, at first. they did not know how we were

going to depict the area. we did have people asking us about our approach to it. and then also just you have parents from the local motels, some of the residents not trusting us at first. we had to basically gain their trust. i think by the time we're actually shooting for the most part, at least with the motels we were shooting at and the agencies we were working with, it was very collaborative. in a place where i felt the people who wanted to be involved had a very enthusiastic approach to it. they wanted us to do it correctly. charlie: some people are taking note of the fact that you don't have a lot of plot developments here. almost a sense where you are living with these people and

most summers don't have a plot. sean: that is what i think -- if you look back at the summers of your youth, they don't have a three-act structure. there is a structure, but it is disguised. the lines are blurred. audience members who want a heavy plotted story might not be able to see on the surface, but it is there. charlie: the casting of moony. sean: she is brooklynn prince. that is the name she was born with. already a hollywood name. i really believe she is a prodigy. she is one of the most incredible actors i've ever worked with at any age. she understands acting. she is now seven, six when we

shot. to watch her work is really incredible. she was holding her own with willem defoe. first off, i said i wasn't going to make this film unless i found a present-day spanky mcfarland. getting too close to production and i was saying, we will have to hold the production off until i found this little girl. she was local. orlando-based. i wanted all the kids to be from the local area. a local casting company by the name of crowd shot had her in their database and suggested we see her and she walked into the room and within seconds won us over. she had those qualities that spanky had. the energy and wit and cuteness, the little puffy cheeks, but we

had no idea she was going to be able to deliver such an incredibly emotional performance as well. without giving spoilers away, she has to deliver tears and really deliver an emotional performance. i think she truly does that in a way that she understood her character and she understood the predicament and circumstance -- charlie: she is your protagonist. sean: yes. i put her in the same camp as jodie foster and mickey rooney, a child actor who was born to do this and loves it so incredibly much that i think she will have a bright future. just a little anecdote. we had a limited number of hours to work with our children every day because of child labor laws. we would get to the end of the day and it was, ok, you have to

go, and she would be upset, because she truly loved acting. ♪ who knew that phones would start doing everything?

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>> i'm a alisa parenti from washington and you are watching "bloomberg technology." spain's central government in madrid has fired the catalan government and dissolved its parliament. that is after the declaration of independence. spain's government was granted the authority as part of emergency measures. it is calling for a new regional election. press secretary sarah sanders says the white house supports the spanish government's constitutional measures. state department spokeswoman heather says both nato allies cooperate closely to advance shared security and economic priority.